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Biography

Christchurch-based pop-group, The Insurgents were the darlings of the all-ages scene courtesy of their involvement with Will Edmonds’ Out of Kilter. The original line-up of Young, Coffey and Ellis displayed a strong Brit-pop influence on Chris Young’s songs, whilst Mike Ellis added an element of US Indie-Pop to proceedings.

Ellis and Young have tremendous chemistry together, shaping their songs with perfect harmonies and huge hooks, whilst Coffey keeps things nice and tight.

The band spent a year on hiatus courtesy of guitarist/vocalist Chris Young’s other pop-tastic band Neil Robinson winning the Smoke-Free Rock-Quest in 2006, and eventually succumbed to the big OE, with all 4 members leaving Christchurch for an overseas experience.

Along the way the group recorded an EP with Jo Veale, added Will Edmonds on guitar and recorded what was essentially a post-breakup album for Rob Mayes Failsafe Records.

The Insurgents reunion / album release show at Al’s Bar, 2009.

This release eventually saw them frequent New Zealand television with their song ‘Rather Be Dead’ in adverts for Canterbury University.

With the albums release the group hastily shot and released a handful of music video’s with director Peter Bannan, each filmed as largely continuous shots at the groups established suburban Sockburn House-Party flat with a huge number of Friends and fans.

The Penthouse (sometimes just referred to as ‘Level 5’) was a venue name given to the 5th floor of Unlimited Paenga Tawhiti School in Central Christchurch, above the old Hallensteins building in Cashel Plaza.

The school was originally used as a venue for All-Age shows promoted by Unlimited Paenga student Jeremy Barribeau, and was quickly established as a suitable spot for shows for AA community group Red Panda, plus several others associated the school such as Will Edmonds‘ Out of Kilter and a series of Raves organized by teacher and DJ Brent Silby.

We started with a couple gigs called Citizen Jam. The Glasson family owned it and leased it to the school – so getting permission for an alternate usage was not the easiest. Lots of planning with the fire department and security/risk analysis plans – Rose Jenson Banner helped a lot with that stuff.

– Jeremy Barribeau

Funding initially came from the city counsel and school board in the form of seed capital to start a radio station (Metropolis Radio) with the intent of fostering a local all ages community. (Early headliner) The Shocking Pinks charged what we all thought at the time was an exorbitant NZ$1000 to play haha!

– Jeremy Barribeau

The Shocking Pinks at the 1st Citizen Jam show, June 2005

I organized several alcohol-free raves up there under the Audiodreams brand. We called the venue “Level 5” for our raves.

Audiodreams was a company started by myself with some students. White Elephant helped with supervision and marketing of the raves.

– Brent Silby

Every show had a strictly no-alcohol policy and security was provided at the ground floor.

The floor was a large, open plan space, and Red Panda shows utilized a decent PA (provided by the White Elephant parent group), plus the schools facilities such as a film projection screen.

Red Panda had connections to A Low Hum and as such a handful of A Low Hum’s touring parties put on AA shows at the venue – the highlights including So So Modern‘s show in September 2006 with Australian act Alps, popular Christchurch electro-pop duo Frase+Bri and youthful indie-pop trio Black Market Art.

Another fun event put on by the group was the Red Panda Prom, held at the Penthouse in both 2008 and 2009. I had the pleasure of playing in a couple bands (including a ‘super-group’ made up just for the event) and dressing up for the occasion.

Last AA show we did was the weekend before the quakes with Parking Lot Experiments in the basement of Unlimited (under the Crossing). I remember it vividly – was 48 hours before the Feb shake. Last normal weekend in old Chch. It was a WE show I think as RP was officially wound up into WE and I was working at WE. A local AA band supported (Die Robotor).

– Netta Egoz (Red Panda / White Elephant)

The venue was in heavy use right up until the 2011 Earthquake – in fact AudioDreams had a rave planned for March 2011 that was cancelled due to the February Quakes:

Poster for Earthquake-cancelled rave

However the Earthquakes unfortunately brought a particularly active period in Christchurch All-Age shows to a close, with the Hallensteins building eventually demolished and the school moved.

History

2005: Students from Unlimited Paenga Tawhiti move into the Northern Tower – i.e. the Hallensteins building, after 2 years in the smaller Southern Star Building. In June the first Citizen Jam gig is held.

2010: Building is damaged in September earthquakes, however it remains open until February 2011 Earthquakes.

2011: US group Parking Lot Experiments are the last headline act to play with a show in the basement, an AudioDreams rave planned for March is cancelled after the Canterbury Earthquakes of 2011 close the venue for good.

Biography

Born Celia Patel (and at one stage known as Celia Pavlova), Celia Mancini was a smart, creative, talented and volatile musician. A born front-woman and general icon within the music community, who was never afraid to speak her mind, and unfortunately passed away at a far too young age.

Celia Mancini photo by Bridgid_Grigg-Eyley

Patel was born in Auckland but her musical history started in Christchurch, playing in a number of bands in the mid to late 1980’s, as well as managing seminal Christchurch sonic explorers Into the Void.

Cosmic Love Vibration Cassette (Photo: Phil Clayton)

She was the original front-woman for legendary scuzzy lo-fi group The Axel Grinders (and writing their most excellent single ‘Apparatus of Love’ – Rita Le Quesne replaced her on the recording), fronted the fantastic all-girl group The Stepford 5, and kept things mellow in the lounge group The After Dinner Mints with Bill Vosburgh (formerly of Perfect Strangers).

By 1992 Celia was in Dunedin where she met Chris Heazlewood – kicking off the next phase with what must be her most well known group; New Zealand’s boundary-pushing surf-kings King Loser. For a period the duo also pulled double duty in Peter Gutteridge’s wonderful Snapper.

The group were relentless prolific in the early years – recording all their practices to 8-track tape and expanding their overseas connections with a handful of 7″ releases plus the original King Loser LP – ‘Super Sonic Hi-Fi’. The album caught the attention of Flying Nun – however Celia noted they never considered themselves a Flying Nun group, and at times conflicted with individuals within the label as it reached its commercial apex in the late 1990’s.

Celia Mancini – Kiasu 7″ Single

Celia released a solitary 7″ under her own name in 1996, and by late 1997 King Loser were no more. However she did resurface (at least temporarily) in the hard-rocking Auckland group Mother Trucker, plus created a handful of online videos under the moniker ‘Slightly Delic’, including documenting the bFM music awards, where she stormed the stage after failing to be nominated for the ‘Foxiest Chick’ award…

As the 90’s became the 2000’s, Celia disappeared from view. It wasn’t until April 2015 before she was back in the public eye – with a video performance of a reunited King Loser at Audio Foundation in Auckland. Celia sports casts on both arms, but the group rip through the classic ‘Morning Dew’ like they’d never been away.

Further live performance and a short tour followed in 2016, with director Andrew Moore releasing a promo video for a promising upcoming documentary on the band, which seems to shed a lot of insights in to what was going on with Celia (and the other King Loser members) at the time.

Celia passed away in September 2017, the news sent shock-waves through the online community. She was a bright spark and will be greatly missed.

Located upstairs on the corner of Lichfield and Colombo Streets (though the address is Colombo Street, the entrance was actually on Lichfield) and ran by the Yee family for a few years in the mid 90’s.

..Open around mid ’93. Owned by the Yee Family. Had bands and then even had happy hardcore/trance parties! Daega Bar was downstairs to the left of the main entrance. Got demoed and replaced with the Contemporary Lounge part of Ballantynes.

-Tim Baird (Pinacolada Records)

Posters from the era show that it was a very regular venue with shows 4 nights a week and close ties to both then-student radio station RDU and local skate and clothing outlet Cheap Skates.

Particularly notable are posters from Ape Management‘s Rock Hardman, showing a very dynamic comic style which would also feature on Ape Management (and other Homebacon groups) art work over the coming years, along with further posters at the likes of Warners and His Lordships.

History

1993?: Quadrophenia opens as a venue hosting bands up to 4 nights a week

1996?: Quadrophenia closes, replaced by Daegar Bar?

2011: Building is heavily damaged and eventually demolished after the Canterbury Earthquakes, replaced by what is now part of Ballantynes.

After the devastating Canterbury Earthquakes of 2010 and 2011 closed (or even destroyed) virtually all of Christchurch’s live venues, entrepreneur Jasper Bryant-Greene and local musician T’Nealle Worsley (Bang! Bang! Eche!) saw a vacant hole in the local live music scene.

With virtually no previous building experience, the duo started the conversion of an old clothing manufacturing warehouse on St Asaph street, stripping the site back to the bare wood before installing a full bar, stage, upstairs accommodation, toilets…

Charlie Ryder of Bang! Bang! Eche! at The Archive’s opening party

Initially an all-ages house-party was held in May 2011, christening the building as ‘The Archive’ with performances from Valdera, The Transistors and Bang! Bang! Eche! – an absolutely stonking welcome back to live music in the garden city.

Once the full renovations were completed the bar itself was christened ‘Darkroom’ – Bryant-Greene developed the in-house ordering / payment himself and Worsley brought substantial inside knowledge and previous experience (despite her young age) to booking excellent live acts and running the bar.

The duo put substantial care in developing strong craft alcohol selections and creating a relaxed environment with comfortable refurbished furniture – even the outside (but enclosed) drive-way was utilized as a smokers area.

Log Horn Breed at Darkroom

Darkroom lives up to its name – the venue is VERY dark, particularly around the stage itself. They have a great PA system with strong foldback wedges and a powerful PA that is more than a match for the size of the room (which itself is quite small).

The mixing desk sits opposite the stage and is sheltered from other noise in the venue, making for nice and clear band/desk communication. A 2nd floor space beside the desk has been used in the past for a 2nd stage, allowing for long band line-ups with quick change-overs.

Hannah Harding aka Aldous Harding, at Darkroom in October 2011.

Darkroom was immediately successful. An early show by Bachelorette had people queuing out the door, and as one of the few available performance spaces in Christchurch they had their pick of live acts. Though as is the case with most venues – even some future super-stars found it tough to draw large crowds at times:

I used to play there with Aldous Harding every 3rd Wednesday to approx 5 – 10 people, for free.
– Simon Gregory

Marlon Williams did a short residency, playing to similar crowds, sometimes only to the staff. And The Unfaithful Ways. And All Seeing Hand, plus many, many more.

– John Bell

Galaxy Records moved in to an available space in the Archive, and for a period RDU ran a remote studio from the site, too. The last space in the building was refurbished and turned in to an art gallery, originally called Room 4 – however after this closed an additional stage was built and this back room space became available for paid gigs (Mick Harvey, Die! Die! Die! and Shayne P Carter etc), while Darkroom retained a free entry policy.

With the venues general success (and a keen interest in upmarket liquors), the duo decided to open a 2nd venue – the New Regent Street whiskey bar The Last Word. Eventually Worsley would take over running The Last Word.

Photo I took of Peter Gutteridge at his last Christchurch show at the Darkroom, March 2012

However in 2015 some financial issues were unearthed encompassing both bars – as a result over the course of several months several changes would take place.

Fine whiskey importer Whiskey Galore decided it was in their best interest to keep The Last Word open, and took over the running of the bar as it looked like it was to close.

Marcus Winstanley would take over propriety of Darkroom, starting a new chapter in the venues promising history. Thankfully Winstanley is a fixture of the local music scene (as a guitarist or drummer in a variety of bands – Barnard’s Star, The Undercurrents, Minisnap etc) and was previously a tutor at Christchurch’s MAINZ music recording school – for a period he was the venue manager of the Media Club, and has been involved with several other venues over the years as well.

Winstanley made several changes on taking over the venue:

I decided all shows (Darkroom included) needed cover charges and it was a lot of work to have both venues going and personally, I thought the sound quality in the back room was sub-par, so I decided to flag it.

Rebecca started up the gallery again so it’s been running as NEXT Gallery since 2016. After they moved from New Regent Street (Next door to The Last Word), the Canterbury Society of Sonic Artists operated their venue The Auricle out of NEXT Gallery from July 2016-July 2017

– Marcus Winstanley

Darkroom Alleyway

As of Winter 2017, Darkroom is the most active live music venue in Christchurch, with firm connections to up-and-coming bands (through Winstanley’s connections to MAINZ, plus a young clientele), as well as plenty of established bands up-and-down the country on tap.

Darkroom also hosts comedy and performance nights, and has strong ties to both the gallery and record store, with the occasional market or special event that encompasses each.

The Original DarkSpace

Lastly Darkroom has established a strong connection with Space Academy – the multi-use venue opposite on St Asaph Street; so far this has resulted in a handful of co-hosted multi-venue events (i.e. ‘Dark Space’), plus shows are usually planned to accommodate each others crowds.

History

2011: The Archive debuts with a warehouse party in May – eventually Darkroom opens as the music venue, with Galaxy records following.

2013: Darkroom proprietors Bryant-Greene and Worsley launch The Last Word whiskey bar on New Regent Street.

The Old Star Tavern (aka The Star Tavern, Lion Tavern) was a large old Pub on Lincoln Road, not far from Hagley Park that sprung to life with live entertainment during the mid 1980’s.

Circa 1984, local Punk and Dance impresario (and general taste-maker) Tony Peake was responsible for booking bands at the large, popular Gladstone venue, alongside Al Parke. Meanwhile up in Auckland Peter Urlich was establishing the original Zanzibar dance-club in Auckland – and was planning a similar spot in Christchurch with the help of local proprietor John McCarthy, who owned the Old Star Tavern.

Peake was brought in to establish a new nightclub within the pub, taking the same name as the Auckland venue and putting on regular nights, DJing a mix of Post-Punk, Dance, Dub, Hip-Hop – whatever he saw fit.

We spent a lot of time making sure it had a great stereo… through his connections through University Bookshop he was importing records to play. He’d bring all sorts of records in. We used to have special nights, we used to go down to this factory and get skins, giant bits of polystyrene and we’d paint big pictures, like pop art and put up big lights. For the 60’s night we did a giant Emma Peel pop art for the girls’ toilets. We did one called the Waterfront Night, which Tony particularly enjoyed. We hired all the scaffolding in town and a dance group danced up there. We made friends with these transvestite performers and they would do acts in between the shows.

Peake would eventually bounce back and forth from Sydney, before starting up The Edge nightclub on Hereford Street.

Later on, one-time Solatudes bassist Chris (Anzak?) began putting on shows as Burning House Promotions at various spots around town, including the University Student Association, as well as gigs like those featured in the poster below promoting The Max Block and The Terminals. The money raised by these shows was in aid of Audio Access, an 8-track studio that had started up on Bedford Row and captured music for the likes of All Fall Down, Tall Dwarfs and The Terminals themselves.

Notorious local rock’n’roll vocalist and Downhill Mountain Bike clothing entrepreneur Andrew ‘Ox’ O’Connell ran a small clothing retail shop on Selwyn Street in Spreydon before the Earthquakes claimed it in February 2011.

Hi-Tone Destroyers at Rockstar Clothing

As the long-standing vocalist of Palace of Wisdom, Ox utilized the shop as both a practice and occasional performance space for the group, along with several other groups that fit in with his specific aesthetic.

Additionally, back in 2001 Ox released a compilation of rock’n’roll groups on his own Rockstar imprint (he also ran ‘Gone Magazine’ an online rock’roll publication), accurately entitled ‘No Thanks To New Zealand On Air‘ as a dig at the local New Zealand Creative grant system.

History

2001: Rockstar release ‘No Thanks to New Zealand on Air‘

2011: Rockstar Clothing is damaged in Canterbury Earthquakes, Ox is forced to move out

NOTE: This post probably contains quite a few errors and an inaccurate timeline – there is very little info online about old Christchurch venues, so I welcome all corrections and additions!

Also known as: Midday Theatre, Alska Theatre

Location: Westpac Lane, 147 Hereford Street, Central Christchurch

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Current Status: Demolished post-earthquake

Active as a live music venue: 1997 – 2000

Bar Manager: Nick Paris

Capacity: 300?

All-Ages: Yes

Wonderful quirky cinema theatre resurrected by Christchurch Film Society boffin Nick Paris in 1998, after years of neglect. Originally the Mid-city Theatre and one of many cinemas that were dotted around the Christchurch Square until major movie complexes started to dominate in the early 90’s.

Under Paris’ management, movies were often accompanied by either live musical performances (i.e. the largely dialog-free Baraka and Microcosmos), or were given opening-night parties with live bands performing in the foyer.

Hi-Tone Destroyers at Lumiere Theatre

On some occasions the entire venue was put aside for live performances – of particular note was Stereolab’s sole Christchurch show in 1998, supported by local group Hawaii Five-O.

The quirky nature of the theatre was exemplified by it’s inclusion in the Christchurch editions of Ant Timpsons’ Incredibly Strange Film Festival, run ably by local nutball’s Steve Austin and Nick White.

After the Lumiere closed down around 2000 it was converted in to an English language school, before being damaged and eventually demolished after the Canterbury Earthquakes. The site is currently part of a new hotel development.

History

1982: Mid-City Theatre Opens with a seated capacity of 408.

1996: Theatre renamed the Alska, with a reduced seated capacity of 317.

1998: Nick Paris takes over the venue, renaming it the Lumiere and refurbishing the interior in a quirky style. Live music performances become a part of the new venue.

2000: The Lumiere closes down and is replaced by an English language school.

2011: Damaged and eventually demolished after the Canterbury Earthquakes.

NOTE: This post probably contains quite a few errors and an inaccurate timeline – there is very little info online about old Christchurch venues, so I welcome all corrections and additions!

Also known as: Kreation Art House, Kreation Milk Bar

Location: 206 Barbadoes Street, Central Christchurch

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Current Status: In Repair

Active as a live music venue: 2007 – 2010 (Otautahi Social Centre), 2011-2012 (Kreation Milk Bar)

Bar Manager: –

Bookings: –

Website: –

Capacity: 200?

All-Ages: Yes

The Otautahi Social Centre was a mid-sized old hall on Barbadoes Street in Central Christchurch which ran for a couple of years as an All-Ages-Friendly live music venue.

Being an unlicensed youth centre, there was no bar or much in the way of formal organisation, just a space set up with a small PA system, a few couches and a small kitchen and toilets out back. On occasion some kids would bring alcohol to shows (it was even openly endorsed at some punk gigs), but generally things got along in a friendly, community-orientated kind of way.

Youth events group Red Panda utilized the centre for a couple of their events, including an excellent ‘secret show’ by Die! Die! Die! and a tea party event involving Auckland trio Bear Cat which involved baked goods and a sit-down hoedown!

Die! Die! Die!’s secret show

Aside from Red Panda the centre was mostly utilized by local punk groups, putting on some pretty anarchic and (most importantly) fun events. The space was used for more than just gigs too – in fact for a period the upstairs level was used as sleeping quarters!

Otautahi Social Centre went through a few changes before and after the Canterbury Earthquake, shutting up shop before coming back again (for a short time at least) as Kreation Art House / Kreation Milk Bar, however as of August 2017 the building is currently going through a major repair job, as it was actually quite damaged in the 2011 Earthquakes.

History

2007: Starts hosting live music as Otautahi Social Centre at 206 Barbadoes Street.

2011: Canterbury Earthquakes damage building, however it is still in use for some time after under the new name Kreation Milk Bar

NOTE: This post probably contains quite a few errors and an inaccurate timeline – there is very little info online about old Christchurch venues, so I welcome all corrections and additions!

Also Known As: Club de Rox

Location: Mollet Street, Central Christchurch

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Current Status: Demolished

Active as a live music venue: 1977 – 1978

Bar Manager: Al Park

Capacity: –

All-Ages: Yes

Mollett Street was an informal performance space above the Longhorn Leather shop on Mollett Street, just off Colombo Street in Central Christchurch. It was particularly notable as the first punk-friendly venue in Christchurch, however by all reports Mollett Street had a communal party vibe, doubled as a market, and managed to bring together the long-hairs, the freaks and the punks of all varieties – pretty much all-comers.

After school, Scott and I regularly hung out at the record counter of the University Bookshop, which was run by Tony Peake, an Aussie, a few years our senior. One afternoon Tony told us of a new club that had just opened in the city in a lane way off Colombo St. It wasn’t really a club at all, more like a few rooms above a leather shop with a homemade stage and a single toilet, which rarely flushed.

Christchurch music legend Al Park is always tied to the history of Mollett Street – he was responsible for booking bands (and named it ‘Club de Rox‘, though that never seemed to catch on), plus his early group Vapor and the Trails were regulars through-out the two year lifespan (1977 – 1978) of the venue.

Christchurch’s original British-style punks The Doomed were one group that made their mark at Mollett Street – garage rock historian Andrew Schmidt (of Mysterex Fanzine fame) detailed the venue with some rather stellar photos of the group performing in July 1978 – Johnny Abort’s (aka Dick Driver) wild afro haircut standing out in every shot – TVNZ’s ‘Eyewitness Punk‘ piece from 1978 captured the performance, along with some typically bristly punk attitude from Driver disparaging Auckland Punks as ‘plastic’.

I can remember goin there on a Sunday evening with the Clean and the Enemy to see the Basket Cases….i dont remember there being anymore than about 5 people there. And here was a band playing live some of the music we all loved. A song off the Pretty Things LP Parachute, Velvets etc etc!…The only other memory is when Jane walked off stage Chris jumped on her. Everyone hit it off! I dont remember playing there. I remember playing Foresters Hall (?) and breaking a string, which I had never done before. I thought to myself “what the fuck do I do now”?, when Al Park jumped on stage with a string and re strung it the gat while it was round me neck. …what a guy!….anyway the Mollet ST meeting was quite something, little did we all know what was coming!

The Sunday night bill on a typical night might feature Al’s group Vapour and The Trails, a folk singer, a prog rock group and us playing our own two minute songs and a few sped up Who covers. This attracted a pretty diverse crowd of hippies, students and a few punk rockers eager for some Sunday night entertainment, as nothing else was open. There would always be a queue around the corner and up Colombo Street clutching the obligatory two dollar cover charge.

– Mark Brooks

After the venue closed, legendary Christchurch film-maker (and drummer for the Axemen) Stu Page shared the space with photographer Peter Towers for a period in the early 1980’s.

Though the building was heavily damaged in the February 2011 earthquakes, with Christchurch’s South Frame redevelopment progressing in 2017, it appears new life may finally be brought back to Mollett Street with Otakaro opening the space as an ‘inner city oasis’, framed by the newly developed Justice Precinct.

History

14th August 1977: ‘Club de Rox’ Opening show with 2 movies, a play and performances from Sugar Cane and Vapor and the Trails.